CATALOGUE UNDER SEPARATE DESIGNATIONS OF 


ETCHINGS AND ENGRAVINGS 


BY THE OLD AND MODERN MASTERS 


FOR THE 


CASUAL PURCHASER and THE COLLECTOR 


\ 
The property therein designated with * * * belongs 
to the estate of the late FRANK S. BOND, ESQUIRE. 


- The property designated with * * belongs to a 


gentlemen residing in the City of New York. 


The property designated by an * belongs to another 
gentleman residing in the City of New York. 


The property designated by no asterisk belongs to 
JAMES C. McGUIRE, ESQUIRE. 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF THE OWNERS 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


ON THURSDAY, FEBRUARY THE 19th AND FRIDAY, FEBRUARY THE 20th, 1914 
AT THE HOURS OF 8.30 IN THE EVENINGS, AS HEREIN STATED 


UNDER THE MANAGEMENT OF 


fie AMERICAN, ART ASSOCIATION 


MADISON SQUARE SOUTH 
NEW YORK 73% ! 
At 


o3 pre” 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by the 
auctioneer, if in his judgment, such bid would be likely to affect the sale injuriously. 


2. The highest bidder shall be the buyer, and if any dispute arise between two or 


more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so 
in dispute. 

3. Payment shall be made’ of all or such part of the purchase money as may be 
required, and the names and addresses of the purchasers shall be given immediately 
on the sale of every lot, in default of which the lot so purchased shall be immediately 
put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, shall be 
made within ten days thereafter, in default of which the undersigned may either con- 
tinue to hold the lots at the risk of the purchaser and take such action as may be 
necessary for the enforcement of the sale, or may at public or private sale, and with- 


out other than this notice, re-sell the lots for the benefit of such purchaser, and the. 


deficiency (if any) arising from such re-sale, shall be a charge against such purchaser. 

4, Delivery of any purchase will be made only upon payment of the total amount 
due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase during 
the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in which the Associa- 
tion is in no wise engaged, and will not be performed by the Association for purchasers. 
The Association, will, however, afford to purchasers every facility for employing at 
current and reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of the parties 
engaged for such service. it 

6. Storage of any purchase shall be at the sole risk of the purchaser. Title passes 
upon the fall of the auctioneer’s hammer, and thereafter, while the Association will 
exercise due caution in caring for and delivering such purchase, it will not hold itself 
responsible if such purchase be lost, stolen, damaged or destroyed. 


Storage charges will be made upon all purchases not removed within ten days from 


the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Association of the correct- 
ness of the description, genuineness or authenticity of any lot, and no sale will be 
set aside on account of any incorrectness, error of cataloguing, or any imperfection 
not noted. Every lot is on public exhibition one or more days prior to its sale, after 
which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will give 
consideration to the opinion of any trustworthy expert to the effect that any lot has 
been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued 
or make mention of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper foundation. 


SPECIAL NOTICE. 


Buying or bidding by the Association for responsible parties on orders transmitted 
to it by mail, telegraph or telephone, will be faithfully attended to without charge or 
commission. Any purchase so made will be subject to the above Conditions of Sale, 
which cannot in any manner be modified. The Association, however, in the event of 
making a purchase of a lot consisting of one or more books for a purchaser who has 
not, through himself or his agent, been present at the exhibition or sale, will permit 
such lot to be returned within ten days from the date of sale, and the purchase money 
will be returned, if the lot in any material manner differs from its catalogue descrip- 
tion. 

Orders for execution by the Association should be written and given with such 
plainness as to leave no room for misunderstanding. Not only should the lot number 
be given, but also the title, and bids should be stated to be so much for the lot, and 
when the lot consists of one or more volumes of books or objects of art, the bid per 
volume or piece should also be stated. If the one transmitting the order is unknown 
to the Association, a deposit should be sent or reference submitted. Shipping direc- 
tions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be furnished 
by the Association at a reasonable charge. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


a ee 


on ee i ey 


Pe ne oe ie 


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oe 


i 


‘ 


AT THE AMERICAN ART GALLERIES 
: MADISON SQUARE SOUTH, NEW YORK 
uv UNRESTRICTED PUBLIC SALE BY ORDER OF THE OWNERS 


First Session, Numbers 1 to 130, Inclusive 


. : THURSDAY EVENING, FEBRUARY 19th, AT 8.30 O'CLOCK 


1 4 Edie St. Marks. “Ovainil etching. Signed wears proof. 

~ 2. Doorway, Benem Cariepran. Original etching. Signed artist’s proof. 
: 3. Rio Mauipran. Original etching. Signed artist’s proof. 

| One hundred and five impressions printed and plate destroyed. 
. GRAND CANAL. Original etching. Signed artist’s proof. 

Bs One hundred and five impressions printed and plate destroyed. 
. THE Rratro. Original etching. Signed artist’s proof. 

. | One hundred and five impressions printed and plate destroyed. 
3. SAN Giorcio Maeaiorr. Original etching. Signed artist’s proof. 
One hundred and five impressions printed and plate destroyed. 

. Porta pELLA Carra. Original etching. Signed artist’s proof. 

a One hundred and five impressions printed and plate destroyed. 
8. On’ p Oro. Original etching. Signed artist’s proof. 

if One hundred and five impressions printed and plate destroyed. — 


Tiree Pace TO Ser or Srx VENIcE Ercuines. Original etching. Signed 
» artist’s proof. 
_ One hundred and five sets printed and plates pea 


ALDEGRAVER, HEINRICH. 


10. Curpren Dancrne. 
_ Fine impression, with margin.** 


APPIAN, ADOLPHE. 

Pupil of Corot and Daubigny. 

_- -“ My admiration for Appian’s work as an etcher was already great 
po several years ago, but the more I see how rare his qualities are in 

contemporary art, or in any art, the more I feel disposed to value 

them.” Philip Gilbert Hamerton, Etchings & Etchers, Page 202. 


“41. Drawine tHE Nev. Original etching, Japan proof.* 


' 
SN 


emai, 


12. By THE LAKE. Japan proof.* 


13. Port or St. Remo. Japan proof.* 


“14, FisHerMan’s Hur. Japan proof.* 


15. Country Roap. Japan proof.* 


16. THE VILLAGE oF CHANAZ. Japan proof.* 


BARRY, A. 
17. THE Bookworm. After E. Stammel.* 


BAUSEH, J. F. 
18. RosEerra. 

Line engraving. After the painting by Casp. Netscher.** 
19. LUCINDE. 

Mezzotint. After the painting by P. Falconet.** 


BEAUVARLET. 


20. CHARLES PHILIPPE, CoMTE D’ARTOIS AND MARIE ADELAIDE CLOTILDE, 
HITS “SISTER += 


BEHAM, HANS SEBALD. 
21. THe DRUMMER AND THE STANDARD BEARER, 1544. 


Very fine early impression.** 


92. Tur PENANCE OF St. CHRISOosTomus. B 215. 


Very fine impression. From the collection of Count Lanna. Duphl- 
cate of the British Museum.** 


23. ADAM AND Evr EXPELLED FROM THE GARDEN OF EDEN, 1543. 
Fine impression with margin.** 


24, EMPEROR KIERDINAND. 
Very rare.** 


BEJOT, EUGENE. 
25. Le Pont pes Arts. Original etching. Signed artist’s proof. 


BESNARD, A. 


2%. Boy anp Donkey. Original etching, proof.* 


- BOCOURT, AUGUSTE. 
| 28. Portrait or J. F. MILLeT AND C. Corot. Original etchings. (2)* 


_ BOILVIN, EMILE. 
29. THe Warer Lity. Original etching, proof.* | 


/BONNAT, LEON. | 
- 30. Porrrair or Victor Hugo. Etched by Rajon.* 


} BRACQUEMOND, FELIX. 
31. VUE bu Pont pgs Saints Peres. Painter etching.” 


. 32. Don Quicnorrr. After Goya, a strong etching.* 


La Piace Brepa, Paris. Japan impression with the symphonic mar- 
gins before the inscription, L’Hiver de 1879 a Paris.* 


BIBERON EN FAYENCE D’OrRON. Collection de M. Spitzer.* 
AIGUIBRE EN Crista DE Rocus. Dry point etching.* 


‘ 
. L’ADORATION DES Macrs. Email de la collection de M. Spitzer.* 


Sp Winatess CHimERA. Rinder Number 416. Original etching. 
| Signed artist’s proof. 


\PLIN, CHARLES. 
USTE DHE FemmeE. Etched by Champollion, proof.* 
posine. Etched by Champollion, proof.” 


Souvenirs DE Toscane. Original etching.* 


-Mezzotint. After the painting by Sir Thomas Lawrence.** 


2. CounTEss oF BLESSINGTON. 
Mezzotint. After the painting by Sir Thomas Lawrence.** 


. DAUBIGNY, CHARLES FRANCOIS. 
P > MS. Tue Ferry. Original etching, needle proof.* 


SHEPHERD AND SHEPHERDESS. Original etching.* 


f "DE FREY, J. 
47. Tue SHip BUILDER. 
A, — After the painting by Franz Hals.** 


DE N EUVILLE, ALPHONSE. 


we. THe Barrie or Cusnaprer. Proof before all letters. Stamped 
r Print Sellers’ Association. ‘ 7 vs 


/DESBROSSES. é re 


| 49. Cows Drinkine, WITH LANDSCAPE IN THE Rear. Folio, fine ch 
: istic painter etching.* oh 


2 _ DUPONT, HENRIQUEL, ie 
\ 51. Porrrarr or Racuen. Holland paper.* \ 
, 52. Tum Mystic Marriace or St, CATHERINE. aed 
j fc eho Beautiful proof before the letters. Signed by the artist, 


i 


painting by Corregio.** 


DUPONT, EMILE. 


DRA. Le Jonevr. Original etching. 
-: 8 In carved oak frame.*** 


“\-DURER, ALBRECHT. 1471-1528. 


ee oe Tue Rare or Amymong. B. 71. | 4 si a 
go. Fine impression. In is condition. aS ray one : 
PX. a 
raat 
| Sf oO ie alia on iron. Fine and aonae printed. ia pert 
§ From the Collection of Count Lanna.** | : 


Ds . Four NakepD WomeEN.** ‘B, 7%. Ly Fa 


f / 56. ED x, Lapy AND THE LANSQUENET. Beer ae P 
wee Hine and clearly printed rae te if 
: é 

iy Peas << Do Prasants. B. 86. ae 
/ /4,- ps Pair i pression. In perfect condition. Slightly foxed. 


58. epee rie Wiss, Evgoror or Saxony. B. 104. pee 
Fine early impression. In perfect condition.** F 


59. ADAM AND Evz. B. 1. Second state, on paper with the bull’s head 
24 watermark Hausmann, No. 1. 

eae? The print, which is a fine old impression, is apparently backed with 
Sons ae _ 00 a very thin Japanese paper to prevent a crease through the centre 
ne a : important plates is very delicate, and for this reason he later on 
ie ie substituted the more durable paper of the “ high crown.” 

A small square piece of blank paper has been inserted in the right 
ipper corner.*** 


61. Tue Lirriz Horsz. Reversed copy. 
jee“ Heller, p. 501, No. 1005. In light oak frame.*** 


62. St. Jerome in His Cutt. 1514. B. 60. 


Fine silvery impression. Apparently on paper with the “ hah 
crown,’ although this watermark does not appear on the piece of 
paper on which this print is done. 
Soe $ Alausmann says: ‘“ According to the material and the distance of 
eoee as i “ the wirelines the paper on which the fine old impressions are 
7 printed, is that of the high-crown watermark, although this never 
appears in the print. ‘The plate bemg small, the watermark wee 
likely appeared in the margin.’ 
_“The various details are engraved in the most admirable and fin- 
"ished way, and the composition as a whole is most artistic. We 
cannot too highly admire the skill with which Diirer, in this beau- 
- tiful engraving, has expressed the vivid light which enters through 
the windows and diffuses itself through the chamber.” 
_ Adam Bartsch, “ Le Peintre-Graveur, Vol. VII, pages 76, 76, No. 60. 
There are fiwse deceiving souniertera of Ditevs Saint Jerome in 
his cell. One of them—the “counterfeit B.,” of Bartsch, is recog- 
Paced by the difference in form of the claw of the outer toe in the 
left front paw of the lion.*** 


63. Die AND ABISAG. 


After the painting by B. Werf. Proof before the title.** 


-EDELINCK, GHRARD. 


64, Portrarr or PuiLippn pe CHAMPAGNE, 
ee pression. ‘The artist’s masterpiece.* 


Engraved in 1676. Fine im- 


_ EDWARDS, S S. ARLENT. 
6 5. Francois Il. “ Crover.” Mezzotint in colors after the painting in the 
Taw, Antwerp Museum. Signed artist’s proof. 


ea 
= ‘ 


66, LucrezzA Tomapuonr. Mezzotint in colors after the painting by Botti- 
celli. Signed artist’s proof. 


4 


- painting by Mignard at Versailles. Signed artist’s proof. 


from cracking. This early paper which Direr used for some of his. 


has 
‘ 


6. Louise pe BourBon, DuctEsse pu Marine. Mezzotint in colors after the 


, : 
A 


68. THe Youne Princess. Mezzotint in colors after the paimting by Net- 
scher in the Musée de Louvre. Signed artist’s proof. 


FITTON, HEDLEY. 


70. Rostin CHAPEL. Original etching. Signed artist’s proof. 


e71. St. ANDREW'S CASTLE IN THE Kinepom oF Fire. Original etching. — 
dient Signed artist’s proof. 


72. St. Errenne, Beauvais. Original etching. Signed artist’s proof. 


(3. St. Hinary, Porriers. Original etching. Signed artist’s proof. 


Signed artist’s proof. 


_?#i4, St, ANDREW’s CASTLE IN THE Kinepom oF Firg. Original etching. geek . 


FLAMENG, LEOPOLD. 


75. A Man LaueHine. Etching after the painting by Rembrandt. Artist’s 
proof. 


‘4, Portrait and 10 plates illustrating the story of MANon Lescaut. 
Original etchings, proofs on Holland paper.* 


77. Two portraits and 12 plates, illustrating the works of MoLiers, after 
Louis Leloir, proofs on Holland paper.* 


78. THE Nicgot WatcH. After Rembrandt. One of Flamengs’ finest etch- 
ings.” 
FOCILLON. - 


79. LirE-sizE PorrraIr OF CHRISTOPHER CoLumMBus. Parchment signed 
proof. 


Double remarques: One telling of the story of the egg, the other 
showing Columbus at the Convent of La Rabida. Published by 
Goupil & Company at $100.* 


FORSTER. 


80. Porrrair or Henry IV. Open letter proof. 


GAILLARD, F. 


82. VIERGE DE JEAN BELLIN. One of Gaillards’ most delicate plates.* — 


GELEH, ANTOINS FRANCOIS. 
83. DapHNis ET Cutoxr. After Hersent. 
Appell, p. 174. No. 4. First State before the Title.** 


GEROMHE, JEAN LEON, 
84. Portrait of, as a sculptor.” 


85. THE Durxi. Etched by Rajon, proof.* 


, Moors Batu. Etched by Courtry, proof.* 


. THE DeatH oF CaEnsaR. Painter etching.* 


") 


OUPIL FAC-SIMILES PRINTED IN COLORS. 


| THE ToLnGarn. After Eugene Lami.* 
f OL Tae Cake Setter. After F. Flameng. One of his best subjects.* 
E ee Departure, After Delort.* 


"HE FLOWER MARKET. “9 Gilbert.* 


...... Woops. H. 219. 
First State. Signed proof.** 


up TEST AT LONGPARISH. H. 224. 
| ‘First State. Signed proof. ok 


‘LD Cierra Our oF WHISTLER'S Wanow. (Battersea Beach.) 
_ First State. Plate destroyed. . 


105 : Honan Lock. First State. With He signature and sky.* 


1 Tue Herp, ME RECC TOR Proof on Holland paper, plate destroyed.* 


~ 


1044. Compe Bortom. Harrington, No. 32; Drake, No. 29. 

Signed artist’s proof on old Englsh paper. Intermediate trial proof 
“G” with the signature, the shadows of the rabbits, and all the 
middle distance obliquely across the plate, removed. . 
“The little piece is a jewel; it has a most rare charm. It is very 
scarce, and we advise the collector who comes upon it not to let it 
escape him.”’—GustavE Bourcarp, A Travers Cinq Siécles de 
Gravures, p. 446. 

The above and the four following lots are from the W. E. Dillaway 
collection. They are resold for the account of former purchaser. 


1048. NEAR THE GRANDE CHARTREUSE. Harrington, No. 56; Drake, No. 49. 
Signed artist’s proof on Holland paper. ‘This was etched after a 
drawing by Turner. 


104c. Porrrarr or Francis Seymour Hapen (Number Three). Harring- 
ton, No. 61; Drake, No. 54. 
Signed artist’s proof on Whatman paper. 


104p. Croguis IN Burtry’s GARDEN. Harrington, No. 88; Drake No. 79. 
Artist’s proof on old French paper. An impromptu sketch to show 
Mr. Burty how to suggest, in etching, the direction of the growth 
of the bark of a tree. Twelve impressions printed. 


1045. “ Purr ”—Doc ASLEEP on A CuHatr. Signed artist’s proof on Verger 
paper. “ Puff” was a dog belonging to Mr. Charles A. Cole. 


HAIG, AXEL H. 
105. THe WINDMILL. Original etching. Signed artist’s proof. 


HAMERTON, P. G. 
106. Tork UNkNown River. Original etchings, 3 pieces.* 


HOLLAR, WENZEL. 
107. THE DESCENT FROM THE CROSS. 
‘After the painting by Holbein. Very fine impression.** 


108. CATHEDRAL AT ANTWERP. 
First state. An extremely fine impression. In perfect condition.** 


HUNT, LEIGH. 
109. Port or RorrerpAM. Original etching, signed Japan proof.* 


110. WinpMILL IN Hotuanp. Original etching, signed Japan proof.* 


JACQUES, CHARLES. 


111. CHILDREN PrRayinc. WaGon NEAR THE Hovuss. Two miniature etchings 
on one sheet. G. 1129.* 


— 112. Winter Lanpscarz. Cuinpren Drawine a Wagon. First state, proof 
on India.* 


113. Farm Hovusr. A Man Drinxine. Two miniature etchings on one sheet. 
Karly state before the number.* 


- JANIN KT, FRANCOIS. 


114, Portrarr or Mariz Antornerte. Half length, head slightly to right. 

ne ‘The very beautiful reproduction in gold and colors of the excessively 
scarce print by Janinet and probably the finest example of modern 
work of this kind known.* * 


_ JASINSKY, FELIX. 


115. Drvva Virrorta Cotona. Beautiful portrait, after Lefevre. Signed 
sth proof.* 


- JONGKIND, J. 
de 11.6. PORT oF ANTWERP. Japan proof, original painter etching.* 
- 117. Winpwint Near Rorrerpam. Japan proof, original etching.* 


is. THE SKATERS IN HoLLAND. Japan proof.* 


“LEGROS, ALPHONSE. 
119. PortTRAIT OF Sir EH. J. POYNTER. M. and Th. No. 42. Original etching. 


120. A Breton Prasant. M. and Th. No. 29. Original drypoint. 
11, Acep Spantarp. M. and Th. No 21. Original etching. 
122. Porrrart or EB. J. Poynver. Painter etching, proof.* 
_ LE RAT. 
122A. Le Puinosopue. After E. Meissonier. 
First state. Remarque proof on parchment signed by both artists. 


_, Very fine and rare. In a Florentine gold frame.*** 


_ LALANNE, MAXIME. 
Be 123. Virw or THE Crty or Borpeaux. Lithograph, rare.* 


| Be OUTER, LIONEL. 
Te. Tue Smoker. Original etching, Japan proof.* 
425. Porrrarr or Marte dE Menicts. Fine trial proof.* 


126. Dapunis anp Cuioz. After R. Collin, Japan proof.* 


LIVENS, JAN. 
127. PoRTRAIT OF AN OLD WoMAN. 


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hg) 


MANET, EDOUARD. 


129. Porrrarr or Genzrat U. 8. Grater “india proof. * 


Te ————— = STC ee ee 


128. Lapy WirH THE Fan. Original etching. One of his best. 
MARSHALL, W. E. 3 A 


MASSALOFF, M. 


130. PortTRAIt OF REMBRANDT. Etching after the > painting by 
Artist’s proof. ; 


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AT THE AMERICAN ART GALLERIES “ 
MADISON SQUARE SOUTH, NEW YORK 


. 


UNRESTRICTED PUBLIC SALE BY ORDER OF THE OWNERS 


a : Second and Concluding Session, Nos. 131 to 262, Inclusive 


FRIDAY EVENING, FEBRUARY 20th, 8.30 O’CLOCK 


MASSON, ALPHONSE. 
131. ReTurN From THE Fievp. Remarque proof on Japan paper.* 


-MEISSONIER, E. F. 
132. Tue IwperiaL Review ar Nancy. Needle proof by Jacquemart. Rare 


plate.* 


133. THE REeporTING SarGENT. Original miniature etching.* 


134. Tu Artist. Etched by Bichard. Proof on Japan paper.* 


185. Tue Docror. Character in the story of Paul and Virginia. Needle 


proof on India paper by Pigeot, before the cutting of the plate.* 


MERCURY, P. 
_ 13%. Porrrarr or CuristopHEer Cotumsus. Proof and lettered impressions. 


(2).* 


, " \EBYRON, CHARLES. 


a, La Morevz. L. D. 36. 


188. LA RUE DE LA TIXERANDERIE. L. D. 29. 
Second state.** 


Fourth state.** 


140. La Pompr Noree Dame.* 
‘141. THe Oxp Louvre. Proof on Holland paper.* 


‘ 141a. ‘TOURELLE RUE DE LA TIXERANDERIE HELIOGRAVURE AMAND DURAND. 
meee) in black and gold frame.*** 


MILLET, JEAN FRANCOIS. 


a pee. L’Homme Appuys sur sa Bécun. Original etching.* 


~ 143. La PLANCHE AUX TROIS SUJETS (La FEMME ETENDANT DU LINGE, 
Erc.). Original etching. Only 10 impressions; see Sensier, Life of 


Millet.* 


144, La PLrancueE aux Croguis (La Tricotseuss, Erc.). Original etching.” 


145. THE SoweEr. Original lithograph, very rare.* 


146. THz SHEPHERDESS. Charming subject in colors after his drawing.* 


147. MornHer Freepinc Her Curip. Printed in brown, original etching. 
Millet’s daughter Mad. Heymann and her baby served as the models 
for this plate.* 


MOREAU, A. 


‘148. On THE Lake. Etched by Ruet, proof.* 


MOREAU, LE JEUNE. 
149. Le Part Gacnr. Engraved by Ramus, fine 18th century subject.* 


150. La Coursz. Engraved by Guenier. Fine 18th century subject.* 


151. La Petire Torterre. Engraved by Massard. Fine 18th century sub- 
ject.” 


152. L’Accorp Parrair. Engraved by Monnin. Fine 18th century subject.* 


MORGHEN, RAPHAEL. 


153. “ ParcE SomnumM Rumperz.” The Virgin with the sleeping Christ 
child, after Titian. Halsey No. 104, intermediate state between the 
first and the second. With the name “ Titiano ” in scratched letters 
under the left corner. Printed on India paper and framed in 
mahogany.*** 


MORIN, I. 

154. Porrrair or N. Curysrin, R. D. 51. Engraved after the painting by 
Van Dyck. 

155. Ropert ARNAULD D’AnpILLI. R. D. 42. 


' Second state. After the painting by Ph. de Champaigne. Early im- 
pression. In perfect condition.** 


NANTEUIL, ROBERT. 1630-1678. 


156. JEAN CHAPELAIN, MEMBER OF THE FRENCH ACADEMY. R. D. 60. 
Third state of four. Engraved after Nanteuil’s drawing from life.** 


15%. CHARLES-EMMANUEL THE SECOND, Duc bE Savorg. R. D. 61. 
Only state. Fine impression, with margin.** 


158. HENRI AUGUSTE DE LOMENIE DE BRIENNE, SECRETARY OF STATE. R. D. 
, 148. 
res ' First state of two. In perfect condition. Engraved after Nanteuil’s 
drawing from life.** 


‘a. Marquis DE Movy. R. D. 197. 


First state of two. Fine impression, with margin. In perfect con- 
dition. Engraved after Nanteuil’s drawing from life.** 


160. PEREFIXE DE BEAUMONT, ARCHBISHOP OF Paris. R. D. 212. 


P Second state of three. Very fine impression, with margin. In per- 
>)-y~¢ fect condition. Engraved after Nanteuil’s drawing from life.** 


if 161. ‘FRANCISCUS MoTHAENS. Engraved from life. R. D. 143. 


162. PoMPoNE DE BELLIzvRE. After Charles Le Brun. R. D. IV. No. 37. 
ie Second state. One of the engraver’s masterpieces. In antique oak 
*¢ frame. Fine impressions of this beautiful plate are very rare and in 


4 wey demand.*** 


JAPOLEON. | 
st 168. Lrrg-sizp Portrait or Naronnon. After David, remarque proof.* 


- 64. THE “Snurr-Box” Portrait. After Paul de la Roche. Etched by 
an Gianoli with 12 remarques in the margins, signed Japan proof.* 


165. Turee PROFILES oF THE EMPEROR WHILE ATTENDING A THEATRE AT 
Sr. CLtoup. After Lefevre.* 


+16. PortraiT ov Bonaparte, Firsr Consunt, With THE REVIEW DU QuIN- 
Tipt BENEATH. The Levachez portrait re-engraved in a smaller size 
printed in colors.* 


167. Portrarr or Bonaparte, Firsr Consut. The Appian portrait, re- 
engraved in a smaller size printed in colors.* 


168. Porrrair oF NAPpoLEON aS Empsror. Fine miniature portrait in colors 
pee @ by Bourgeocis.* 


< NATTIER, J. M. 
169. Porrrarr or MADAME pe Pompapour. Etched by Lecouteux.* 


OUDART, FELIX. 
ae WINTER SCENE. Original etching.* 


PARKER, JAMES R. (English Stipple Engraver of the Highteenth Cen- 
| tury.) 


| Ze Fair Fatima. Grecian Dancer. Both after Stothard. Open letter 
proofs in brown. A beautiful pair. Two pieces; one lot.** 


: Pe asau, CRISPIN VAN DE 


f° 172. THe Virein With THE INFANT Jusus. Very fine impression. From 
the collection of Prince Waldburg Wolfegg.** 


PORTRAITS. 


173. 


174. 
iD, 


1715: 


Portraits oF TINTORETTI AND Romano. Engraved by Weber and Le- 
comte. India proofs.* 


PorTRAIT OF LAMARTINE. Engraved by Cornilliet.* 


PoRTRAIT OF QUEEN VioTorIA. Engraved by Tavernier, colored im- 
pression.”* 


PHILIPPE DE CHAMPAGNE. Engraved by Panier. Beautiful proof on 
India paper. No. 32.* 


RAJON, PAUL. 


“177. Porrrarr oF BracquEmMonpD. KEtching after the painting by Bracque- 
mond. Artist’s proof. 
RAPHAEL. 
178. Portrarr or RapHarn. Engraved by Panier. India proof.* 
179. PorTrair or RapHagt. Engraved by Metzmacher. India proof.* 
180. Porrrarr or RapHarn. Engraved by Panier. India proof No. 33.* 


REMBRANDT, HARMENSZ VAN RYN. 1607-1669. 


Idi. 


“182. 


REMBRANDT IN CAP AND Se B-20, H-156. 
Second state.** 


THE TriumpH or MorpeEcar. B-40, H-172. 
Only state.** 


. THE ANGEL ASCENDING From ToBIAs AND His Faminy. B-43. H-185. 


Fourth state.** 


. THE ANGEL APPEARING To THE SHEPHERDS. B-44, H-120. 


Fourth state.** 


. THE Crucirixion. Small plate. B-80, H-123. 


Only state.** 


. THE DESCENT FROM THE Cross BY TORCHLIGHT., B-83, H-280. 


Second state.** 


. THE DEATH OF THE VirGIN. B-99, H-161. 


Second state.** 


. THE SHIP oF Fortune. B-111, H-106. 


Second state.** 


. ACADEMIC FicurrE. B-196, H-221. 


Second state.** 


. OLD Man Lirtine Hann To Cap. B-259, H-169. 


Second state.** 


sl. PORTRAIT OF VAN DER LINDEN. B-264, H-268. 
5 2. Sixth state.** 

mak 192. Jan Lurma. B-276, H-290. 

| Es. “9s Third state.** : 


= | eo 193. MAN In 4 BroaD Brimmep Har. B-311, H-158.** 


REMBRANDT, VAN RYN. 


ii PoRTRAIT OF JAN UtTensoGarrbD, Minister of the Remonstrants in Hol- 
land. B.279. Seventh state. Fine impression with margin. In gilt 
\ frame.*** 


4 . 3 _/ 195. THe LAUGHING PORTRAIT or REMBRANDT. Etched by Jules Jacque- 
E < : mart.* 


196. Porrrarr or REMBRANDT. Engraved by G. Levy. India proof. No. 2 
of a small number printed.* 


197. Porrrarr or Rempranpr. Engraved by Panier, India proof No. 39.* 


(1974. PHILOsoPpHER MEDITATING. Reversed copy of. B. 148. 


Brccar Woman Askine Aums. B. 170. Late impression and in- 
jured. THE Crown oF THorNS. CHRIST PRESENTED TO THE PEO- 
PLE. Both reversed copies after Diirer’s plates in the Small Passion 
on copper, by Bundele. Heller, 260, 276. All in one black and gilt 
frame.*** 


OBIDA, ALBERT. 


ST. EVE, J. M. 


199. PorTRAIT OF ANDREA DEL Sarto, after himself. India proof, No. 7 of 
a small number printed.* 


SUYDERHOEF, 1p 
eer PORTRAIT OF HEnprick GOLTZIUS. - 


Very fine impression. In perfect condition.** 


£ FERDINAND THE THIRD. 


Very fine impression with margin. In perfect condition.** 


ip 202. CHARLES THE First, Kinc or ENGLAND. After the painting by Anton 
‘ee Van Dyck. Proof before the number. 
ca 


Fine early impression, with margin. In perfect condition.** 


SYNGE, E. MILLINGTON. 

203. Bupp’s Corner. Original etching. Signed artist’s proof. 

TISSOT, J. J. e 

James Tissot, like Felix Buhot, printed his own etchings meadiene only good 
impressions of his plates. 


r04. 


205. 
206. 


Rusens Har. Dry point, first and second states, the last signed. Ber- 
aldi 2. 204-236, inclusive.* 


SECOND FRONTISPIECE (NUDE FIGURE). Stamped proof, B-5. 


TuHirp FRONTISPIECE (NUDE Ficure). Dry point, first and second 
states. B-6.* 


. SPRING MorNING. Signed and stamped proof. B-7. 
. Ramseate. Larly trial proof, rare. B-15. 
. RamMsGAtTE. First state. B-15. 


. A Door Must BE OPEN oR CLOSED. Pure etching on Japan paper. 


B-16. 


. A Door Must Bz OPEN or CLosEp. First state, stamped proof. B-16. 


. GALLERY ON STEAMSHIP CALcuTTA. Pure etching, stamped proof on 


Japan paper. B-18. 


. GALLERY ON STEAMSHIP CaLcutra. Three states, proofs. B-18. 
. Miss N. Portrait or a YounG Giru. First and second state. B-19. 


. PROMENADE HALL OF THE COMEDIE FRANCAISE DURING THE WAR OF 


1870. Stamped signed proof. B-20. 


. Tue Inn or THE THREE Crows. Three states of the plate on Holland 


paper. B-22. 


. SPRING. First state, Japan proof. B-27. 
. SPRING. Second state, signed proof. B-27. 


. TRAFALGAR TAVERN, GREENWICH. LHarly state before the filling in of 


the sky with the inscription “ good for printing J. Tissot.” B-28. 


. TRAFALGAR TAVERN. Trial proof. B-28. 
. TRAFALGAR TAVERN. Finished state. B-28. 


. TRAFALGAR TAVERN. Original pen and ink drawing, signed at the lower 


left. corner “ J. J. Tissot, Greenwich Trafalgar Tavern, 3 mai, 1878.” 


. CROQUET. Stamped and signed proof. One of his best plates. B-29. 


. THE ORGAN GRINDER. First and second state and an impression of the 


destroyed plate. B-30. 


5. PorTico oF THE NATIONAL GALLERY. Unfinished state, printed on old 


paper. B-32. 


3. Portico or THE NATIONAL GALLERY. Signed proof on Japan paper, 


very fine. B-382. 


. SumMzr. Trial proof. B-35. 


. SUMMER. Signed trial proof. B-35. 


. By THE SEASIDE. Pure etching and finished state (2). B-38. 
30. GARDEN Party. Stamped signed trial proof (2). B-40. 
. ON THE Lawn. First state on Holland paper. B-41. 


. In Futu Sunsuine. First and second states, proofs on Holland paper. 
B-45. 


. SUMMER EvENING. Stamped signed proof. B-4’7. 
. THE GARDEN BENCH. Original mezzotint. B-66. 


235. Tor Youne Sportsman. Original mezzotint, proof before letters with 
the inscription “ good for printing J. Tissot.” B-74. 


"L236. Tux Youne SporrsmaNn. With the title. 


> — UNGER, W. 
37. Apam anpD Evs. After the painting of Palma Vechio.* 


VAN DYCK, ANTONIUS. : 
238. PorTRAIt oF Petrus Breucen. Original etching, rare.* — 


. Portrarr or Jupocus pr Mompsr. Etched by Van Dyck and finished 
by Vorsterman.* 


| 240. Portrait oF JOANNES SNELLINCS. Etched by Van Dyck and finished by 
ae Peter de Iode.* : 


. Porrratt or ANTONIUS VAN Dyck. Engraved by Vorsterman.* 
242. Porrrarr or Micuant Mirnverr. Engraved by Delphino.* 
213. Porrrarr or Jacosus CAaxxor. Engraved by Vorsterman.* 
7 244. Porrrair or ALarHea Tatpor. Engraved by Hollar. Rare.* 
245. Porrrarr or Marta pe Mepicis. Engraved by Paul Pontius.* 
© 246, Porrrarr or Marcarera LOTHARINGEA. Engraved by Bolswert.* 
247. Portrarr or Petrus Pautus Rusens. Engraved by Pontius.” 


_, 248. Porrrarr or Gustavus AponpHus. Engraved by Pontius.* 


“249, Grace Brvorn Mnat.** 
250. Runa TENDERNESS.** 
. FestivAL UNDER A LARGE TREE.** 
. THREE GROTESQUE FigursEs.** . 
_ Tun SMOKER AND THE DRINKER.** 


. Woman Sprynina.** 


v2 


fn 


fl 


%,2- 


2? ~ 255. Tue DANcE IN THE INN.** 


256. THE Pork BuTCHER:** 


< 257. THE YARN WINDER.** 
t 


258. Tur Sameu.** 


VAN SCHUPPEN, P. 


f # 59. PIERRE DE Bonsy, CARDINAL. An extremely fine impression, with mar- 


gin. In perfect condition.** 


VELASQUEZ. 
260. PoRTRAIT OF VELASQUES. Engraved by Panier. Signed India proof.* 


WATSON, JAMES. 


261. JAMES PAINE, ARCHITECT, AND JAMES PAINE, Al R; . Simathabie 
Mezzotint after the painting by Sir Joshua Reynolds. First state 
before the inscription “ Charter of the Society of Artists” on the 
scroll.** 


WOLF, HENRY. 


262. WHISTLER’S MorHer. After a painting by Whistler. 
Signed artist’s proof on rice paper. In imitation ebony frame.*** 


THOMAS E. KIRBY, AMERICAN ART ASSOCIATION, 
Auctioneer. Managers. 


THE GETTY CENTER 
LIBRARY 


ELA P9B-DRIIO 


| 


+ 1914 Feb.19 NeAmB c.1 


American /Etchings and engravings 
93-P21 10 


i 


——S 


